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Television Is Where You Find It is a revelatory journey into the overlooked world of feature filmmakers who brought their cinematic vision to the small screen between 1955 and 1990—long before directing for television became trendy in the age of “Prestige TV.” With ten compelling case studies—from legends like Alfred Hitchcock, David Lynch, and Orson Welles to trailblazers like Ida Lupino, Melvin Van Peebles, and Martin Scorsese—author Craig S. Simpson uncovers how these directors reshaped the language of television with style and imagination.

Far from simply dabbling in a “lesser” medium, these filmmakers pushed the boundaries of what TV could do, crafting bold, innovative work that challenges the old notion that television belongs solely to writers and producers. In this fresh, critical study, Television Is Where You Find It makes a case for rediscovering and reevaluating a rich chapter of television history—one in which cinematic artistry quietly flourished, often hidden in plain sight.

In 1990, American television experienced a seismic shift when Twin Peaks premiered, eschewing formulaic plots and clear lines between heroes and villains. This game-changing series inspired a generation of show creators to experiment artistically, transforming the small screen in ways that endure to this day.

Focusing on six shows (Twin Peaks, with a critical analysis of both the original series and the 2017 return; The Wire; Treme; The Sopranos; Mad Men; and Girls), Television Rewired explores what made these programs so extraordinary. As their writers and producers fought against canned plots and moral simplicity, they participated in the evolution of the exhilarating new auteur television while underscoring the fact that art and entertainment don't have to be mutually exclusive. Nochimson also makes provocative distinctions between true auteur television and shows that were inspired by the freedom of the auteur series but nonetheless remained entrenched within the parameters of formula. Providing opportunities for vigorous discussion, Television Rewired will stimulate debates about which of the new television series since 1990 constitute “art” and which are tweaked “business-driven storytelling.”

A CHOICE Outstanding Academic Book

Flip through the channels at any hour of the day or night, and a television talk show is almost certainly on. Whether it offers late-night entertainment with David Letterman, share-your-pain empathy with Oprah Winfrey, trash talk with Jerry Springer, or intellectual give-and-take with Bill Moyers, the talk show is one of television's most popular and enduring formats, with a history as old as the medium itself.

Bernard Timberg here offers a comprehensive history of the first fifty years of television talk, replete with memorable moments from a wide range of classic talk shows, as well as many of today's most popular programs. Dividing the history into five eras, he shows how the evolution of the television talk show is connected to both broad patterns in American culture and the economic, regulatory, technological, and social history of the broadcasting industry. Robert Erler's "A Guide to Television Talk" complements the text with an extensive "who's who" listing of important people and programs in the history of television talk.

Fieldwork from across Afghanistan allowed Osman to record the voices of many Afghan media producers and people. Afghans offer their own seldom-heard views on the country's cultural progress and belief systems, their understandings of themselves, and the role of international interventions. Osman analyzes the impact of transnational media and foreign funding while keeping the focus on local cultural contestations, productions, and social movements. As a result, she redirects the global dialogue about Afghanistan to Afghans and challenges top-down narratives of humanitarian development.

Television, a memoir is a hybrid collection of autobiographical pieces, tragi-comic in spirit, that depict a woman’s life evolving through time and culture in fragmentary glimpses. Indeterminate in genre, Television is a fluid text that sometimes reads as poetry, sometimes as prose, while exploring classism, ableism, and feminism in a world defined by the advent of new media and, for the author, a privilege that often felt suffocating. Working structurally and thematically, television creates conceptual mileposts in the memoir, with certain programs and cultural references corresponding to specific eras in the author’s past, but it also gestures at an existential modality — the experience of a televisual life, the performative arrangements of nuclear families and neighborhoods, the periodic events and dramas of an adolescence watched from outside oneself.

What’s your impression of the CIA? A bumbling agency that can’t protect its own spies? A rogue organization prone to covert operations and assassinations? Or a dedicated public service that advances the interests of the United States? Astute TV and movie viewers may have noticed that the CIA’s image in popular media has spanned this entire range, with a decided shift to more positive portrayals in recent years. But what very few people know is that the Central Intelligence Agency has been actively engaged in shaping the content of film and television, especially since it established an entertainment industry liaison program in the mid-1990s.

The CIA in Hollywood offers the first full-scale investigation of the relationship between the Agency and the film and television industries. Tricia Jenkins draws on numerous interviews with the CIA’s public affairs staff, operations officers, and historians, as well as with Hollywood technical consultants, producers, and screenwriters who have worked with the Agency, to uncover the nature of the CIA’s role in Hollywood. In particular, she delves into the Agency’s and its officers’ involvement in the production of The Agency, In the Company of Spies, Alias, The Recruit, The Sum of All Fears, Enemy of the State, Syriana, The Good Shepherd, and more. Her research reveals the significant influence that the CIA now wields in Hollywood and raises important and troubling questions about the ethics and legality of a government agency using popular media to manipulate its public image.

In the early 1960s a new style of situation comedy took over primetime as Bewitched, Gilligan’s Island, Gomer Pyle, U.S.M.C., I Dream of Jeannie, My Favorite Martian, and other “Outsider Sitcoms” featuring alien characters disrupting their TV environments shot to the top of the ratings. Departing from a critical approach that understands these series as reflections of the decade’s many social disruptions, The Castaways reveals the programs as emotional responses by their creators to a more personal upheaval: their loss of influence in the broadcast industry. As network executives turned increasingly to audience research, independent producers felt the ability that had been most crucial to their success in broadcasting was being devalued: gut creative intuition. Drawing on memoirs, show treatments, and other original documents, The Castaways uncovers how leading characters on the programs served as emotional proxies for their creators’ fears of industry irrelevance as they were cast out from the corporate halls of power where their series’—and personal—fates were decided.

Exploring the meanings of media technologies through Walter Benjamin’s thought

Walter Benjamin’s prime years as a cultural critic coincided with the rise of televised broadcasting in Europe and North America, a unique period of rapid expansion in a new technological medium. So why would such a subtle and sensitive critic of media, known for his cultural criticism across genres, seem to have ignored or even missed the entire phenomenon of television? This book reveals how television, as a concept and a metaphor, in fact structures Benjamin’s philosophy.

Through a careful reading of Benjamin’s work across various media—literature, photography, cinema, radio, and television—Roland Végső reconstructs a powerful vision of media technologies as not merely tools of communication but as forces that shape how we imagine and construct the world as a conceptual totality. The Dialectical Screen provides a timely and provocative framework for understanding how media continue to shape our political, cultural, and existential horizons, recasting Benjamin's understanding of historical materialism in fundamentally tele-visual terms as a theoretical orientation that makes visible the perishing of the world itself.

Commercial television deserves praise for its many achievements, but since its earliest days, almost everyone has agreed that it is also open to many criticisms. The Texas-Stanford Seminars, made possible by a grant from TV Guide magazine, were intended "to help bring about the general improvement of television," and to provide "a place and a climate for significant discussion." The vigorous and enthusiastic participation in the seminars by executives from the three major networks, from a number of group stations and independent producers, and from advertising agencies and some of the larger advertisers demonstrated the desire of the industry itself to recognize its own faults and to understand the complaints of its critics.

The Meaning of Commercial Television collects the speeches presented at the second of these seminars, in April 1966. Contributors include Harry S. Ashmore, George Schaefer, August Priemer, Leonard S. Matthews, Thomas Moore, David M. Potter, Paul Goodman, Marshall McLuhan, and John R. Silber. Also in the book are summaries of the discussions which followed each of the speeches, and an examination of the overall impact of the meeting and the conclusions which might be drawn from it. Some of the topics discussed are "numbers" rating method of evaluating television programs; the position in the television industry of the independent producer, of the advertiser, and of the television network, and television itself with respect to its history, social perspective, and other aspects of American life to which it is related.